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In the early ’70s, a new generation of acoustic-oriented artists
changed the face of popular music. But Crosby, Stills & Nash,
Joni Mitchell, Carole King, Jackson Browne, and James Taylor
shared more than superb songwriting skills: They all relied on
drummer Russ Kunkel.
Kunkel’s lyrical playing and unhurried groove animate such
classic albums as Taylor’s Sweet Baby James, Mitchell’s Blue,
and Browne’s Running on Empty. Russ also put the rhythm in
tracks by Bob Dylan, the Bee Gees, Steve Winwood, Stevie
Nicks, Linda Ronstadt, Kenny Rogers, Bob Seger, Simon &
Garfunkel, and many other artists.
Kunkel explains his unique affinity with songwriters: “I listen. I try
to understand the singer’s point of view and see if I can enhance
it, as opposed to thinking, ‘I’m the drummer, so I play a beat and
everyone follows.’ Sometimes I don’t even hear a place for drums
on a song. Maybe it just needs some motion, but not necessarily
a whole kit. Joni Mitchell’s ‘Carey' was like that—just a simple
conga part.”
Russ also attributes his success to being in the right place at the
right time. Born in Pittsburgh, Kunkel moved to California in his
teens. His band Things to Come worked at the famed Whisky-A-
Go-Go on the Sunset Strip, where they opened for touring acts
such as Cream, Traffic, and the Byrds. “After that,” recalls Kunkel,
“I started doing song demos for $15 each. The songs were being
showcased, not the musicians, so I started to become aware of
the importance of songwriting. I started trying to play exactly the
right amount, and never too much.”
Meanwhile, a musician acquaintance recommended Russ to
producer Peter Asher, who was about to start recording Sweet
Baby James. “Peter came down and heard me and hired me,”
remembers Russ. “If he’d heard someone else, it could have
been Jim Keltner or Hal Blaine instead.” And such iconic
drum parts as the spacious fills on “Fire and Rain” might have
been very different indeed.
“It was elating that James became so huge,” reflects Russ. “It was
unbelievable to be part of that. At the same time, when you’re on
the wave, you’re not thinking about being on the wave. You’re just
riding it.”
The wave crested memorably in 1973. “I was in New York
working with Peter Asher after Sweet Baby James came out,”
recounts Russ. “I got a call saying, ‘Get your drums and get down
to CBS studios—George Harrison and Bob Dylan are doing a
session and they need a drummer.’ As I was setting up my drums,
George and Bob were sitting around smoking cigarettes. I put on
some headphones, and it was like being in a dream. I closed my
eyes and said to myself, ‘That’s really Bob Dylan and George
Harrison. How lucky are you?’”
After that, the pace seldom let up. Kunkel’s discography is
immense. He’s amassed many production credits, including
a string of hits for Jimmy Buffett. He still tours regularly, most
recently with Lyle Lovett. And he’s just started a company called
Chateau Beach Entertainment. “Our first project is an album
called Rivage,” says Russ. “It’s European-style lounge versions of
some of the big hits I’ve played on over the years. We also plan to
sign other artists, and even do an active clothing line. We’ll also
be importing specialty wines from Bordeaux.” He chuckles. “Our
motto will be, ‘If it’s not fun, we’re not doing it!’”
For the last three decades, Kunkel has played Yamaha drums.
“The drums are just amazing,” says Russ, “but Yamaha drums are
as good as they are because the people behind them are as good
as they are. They really care about the people who play their
instruments, and they’re always there. They’re family.” Kunkel’s
main kits are recent-Vintage Maple and Birch Customs, though he
also relies on several older Yamaha sets. “I use the snare drums
that came with the kits, though I also like Dave Weckl’s two-strain-
er snare. I like Steve Gadd’s drum a lot, too. Also, Yamaha is
about to come out with a new line of snare, drums that will be
amazing. I’ve never come up with my own signature snare,
because I don’t need to—there’s nothing I need that I can’t get
from the choices I already have. When I tour, I take one of my own
kits, but I often go out for shorter gigs where it doesn’t make
sense to fly out all my gear. But no matter where I show up, the
set always sounds phenomenal. Any Yamaha kit off any rental
floor is like that. It’s a testament to how good the drums are.”
Yet Kunkel’s most important gear remains his ears. “When other
drummers ask me how to get into the studio business, I say, ‘You
have to listen. If you listen, what’s needed will become apparent.
And if you have no ideas, maybe that’s because there’s nothing for
you to do!’ Never do what you think someone wants you to do,
because that kind of second-guessing never works.”
yamaha all access22 winter ’08 23